Bernard Haitink at 90
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Beethoven 32 Plus
FREIES MUSIKZENTRUM STUTTGART FMZ Freies Musikzentrum Am Roserplatz Stuttgarter Str. 15 B e e t h o v e n 3 2 p l u s 0711 / 135 30 10 Die Konzertreihe im FMZ Saison 2008/2009 Die 32 Sonaten von Ludwig van Beethoven sind fester Bestandteil der Konzertliteratur. Immer wieder haben große Pianisten diesen Zyklus aufgeführt und auf unzähligen Schallplatten und CDs eingespielt. Bücher und Publikationen beschäftigen sich mit den Werken und den Interpreta- tionen. Und immer wieder hat es den Reiz, des Besonderen, wenn diese Werke wieder neu er- klingen. Als bekannt wurde, dass der österreichische Pianist Till Fellner sich für die nächsten beiden Kon- zertjahre diesen Zyklus als Projekt vorgenommen hatte, begann Andreas G. Winter, Leiter des FMZ und verantwortlich für die Programmgestaltung, als er Till Fellner dafür gewinnen konnte, diesen Zyklus, den Fellner auch in Wien, London, Paris, Tokio und New York spielt, auch im FMZ üeine Konzeption zu der Reihe „32 “zu entwickeln. Um die 32 Klavier- sonaten von Ludwig van Beethoven, deren erste 3 Abende Fellner in dieser Saison (weitere 4 A- bende in der nächsten) spielen wird, konnte Winter weitere namhafte Interpreten gewinnen, die Werke des großen Komponisten der Aufklärung in Zusammenhang mit Kompositionen von Schubert, Schumann und Brahms stellen werden. Paul Lewis wird die Diabelli-Variationen und Schuberts Impromptus D 935, der Geiger Erik Schu- mann mit Olga Scheps Violinsonaten von Beethoven und Brahms, das Trio Wanderer Klaviertrios von Beethoven und Schubert, der Tenor Marcus Ullmann in einem Liederabend neben „die ferne “Lieder von Schumann und Brahms und in einem Recital mit Mikael Samsonov, der frisch üSolocellist des SWR Radiosinfoieorchesters Stuttgart Sonaten von Beethoven und Schubert und Ben Kim, der dem Publikum bereits aus der letzten Saison in bester Erinnerung ist, mit einem Klavierabend Beethoven und Liszt interpretieren. -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Boston Symphony Orchestra Concert Programs, Season 130, 2010-2011
BOSTON SYM PHONY • 4 ORCH ESTRA MTSP III __ 2010-2011 SEASON WEEK 1 James Levine Music Director Bernard Haitink Conductor Emeritus Seiji Ozawa Music Director Laureate RMES TALE I S, LIFE AS A ^S Table of Contents Week i 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 22 BSO MUSIC DIRECTOR JAMES LEVINE 24 THE BOSTON SYMPHONY ORCHESTRA 27 A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA 33 THIS WEEK'S PROGRAM 35 FROM THE MUSIC DIRECTOR Notes on the Program 39 Gustav Mahler 57 To Read and Hear More... Guest Artists 61 Layla Claire 62 Karen Cargill 64 Tanglewood Festival Chorus 67 John Oliver 70 SPONSORS AND DONORS 80 FUTURE PROGRAMS 82 SYMPHONY HALL EXIT PLAN 83 SYMPHONY HALL INFORMATION THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARC MANDEL (OCTOBER 8, 12) AND ASSISTANT DIRECTOR OF PROGRAM PUBLICATIONS ROBERT KIRZINGER (OCTOBER 7, 9). program copyright ©2010 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Michael J. Lutch BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org THE JOURNEY TO THE PRIVATE CLOUD STARTS NOW EMC is proud to support the Boston Symphony Orchestra. Learn more atwww.EMC.com/bso. EMC where information lives endary. HARVARD EXTENSION SCHOOL Greek heroes and award-winning faculty. At Harvard Extension School, we have our share of legends. Whether you are interested in ancient mythology or some other awe-inspiring subject, we invite you to check out our evening and online courses. -
[email protected] CHRISTOPH ESCHENBACH to CO
FOR IMMEDIATE RELEASE March 7, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] CHRISTOPH ESCHENBACH TO CONDUCT THE NEW YORK PHILHARMONIC MOZART’s Piano Concerto No. 22 with TILL FELLNER in His Philharmonic Debut BRUCKNER’s Symphony No. 9 April 19, 21, and 24, 2018 Christoph Eschenbach will conduct the New York Philharmonic in a program of works by Austrian composers: Mozart’s Piano Concerto No. 22, with Austrian pianist Till Fellner as soloist in his Philharmonic debut, and Bruckner’s Symphony No. 9 (Ed. Nowak), Thursday, April 19, 2018, at 7:30 p.m.; Saturday, April 21 at 8:00 p.m.; and Tuesday, April 24 at 7:30 p.m. German conductor Christoph Eschenbach began his career as a pianist, making his New York Philharmonic debut as piano soloist in Mozart’s Piano Concerto No. 24 in 1974. Both Christoph Eschenbach and Till Fellner won the Clara Haskil International Piano Competition, in 1965 and 1993, respectively. Mr. Fellner subsequently recorded Mozart’s Piano Concerto No. 22 on the Claves label in collaboration with the Clara Haskil Competition. The New York Times wrote of Mr. Eschenbach’s conducting Bruckner’s Symphony No. 9 with the New York Philharmonic in 2008: “Mr. Eschenbach, a compelling Bruckner interpreter, brought a sense of structure and proportion to the music without diminishing the qualities of humility and awe that make it so gripping. … the orchestra responded with playing of striking power and commitment.” Artists Christoph Eschenbach is in demand as a distinguished guest conductor with the finest orchestras and opera houses throughout the world, including those in Vienna, Berlin, Paris, London, New York, Boston, Chicago, Los Angeles, Milan, Rome, Munich, Dresden, Leipzig, Madrid, Tokyo, and Shanghai. -
Daniel Saidenberg Faculty Recital Series
Daniel Saidenberg Faculty Recital Series Frank Morelli, Bassoon Behind every Juilliard artist is all of Juilliard —including you. With hundreds of dance, drama, and music performances, Juilliard is a wonderful place. When you join one of our membership programs, you become a part of this singular and celebrated community. by Claudio Papapietro Photo of cellist Khari Joyner Photo by Claudio Papapietro Become a member for as little as $250 Join with a gift starting at $1,250 and and receive exclusive benefits, including enjoy VIP privileges, including • Advance access to tickets through • All Association benefits Member Presales • Concierge ticket service by telephone • 50% discount on ticket purchases and email • Invitations to special • Invitations to behind-the-scenes events members-only gatherings • Access to master classes, performance previews, and rehearsal observations (212) 799-5000, ext. 303 [email protected] juilliard.edu The Juilliard School presents Faculty Recital: Frank Morelli, Bassoon Jesse Brault, Conductor Jonathan Feldman, Piano Jacob Wellman, Bassoon Wednesday, January 17, 2018, 7:30pm Paul Hall Part of the Daniel Saidenberg Faculty Recital Series GIOACHINO From The Barber of Seville (1816) ROSSINI (arr. François-René Gebauer/Frank Morelli) (1792–1868) All’idea di quell metallo Numero quindici a mano manca Largo al factotum Frank Morelli and Jacob Wellman, Bassoons JOHANNES Sonata for Cello, No. 1 in E Minor, Op. 38 (1862–65) BRAHMS Allegro non troppo (1833–97) Allegro quasi menuetto-Trio Allegro Frank Morelli, Bassoon Jonathan Feldman, Piano Intermission Program continues Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C. -
886448056478.Pdf
1 Modest Mussorgsky (1839-1881) Pictures at an Exhibition [34:10] K The Marketplace of Limoges (The Big News) [1:30] Tondichtung für großes Orchester (frei nach Friedrich Nietzsche) Limoges. Le Marché (La Grande Nouvelle) Tableaux d’une exposition Allegretto vivo, sempre scherzando Orchestrated by Maurice Ravel (1875-1937) L Catacombae, sepulchrum Romanum [2:16] A Promenade [1:37] Largo Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto M Cum mortuis in lingua mortua [1:57] B Gnomus [2:47] Andante non troppo, con lamento Vivo N The Hut on Chicken’s Legs (Baba-Yaga) [3:24] C Promenade [0:56] La Cabane sur des pattes de poule (Baba-Yaga) Moderato comodo e con delicatezza Allegro con brio, feroce – Andante mosso – Allegro molto D Il vecchio castello [4:42] O The Great Gate of Kiev [5:40] Andante Le Grande Porte de Kiev E Promenade [0:31] Allegro alla breve. Maestoso. Con grandezza Moderato non tanto, pesamente P F Tuileries Gardens (Children Quarrelling at Play) [1:03] Khovanstchina: Entr’acte to Act IV, Scene 2 Tuileries (Disspute d’enfants aprèes jeux) “Prince Galitzin’s Journey into Exile” [4:41] Allegretto non troppo, capriccioso Orchestrated by Nikolai Rimsky-Korsakov (1844-1908) G Bydlo [3:14] Q Sempre moderato, pesande St. John’s Night on the Bare Mountain (A Night at Bare Mountain, Original version) [12:57] H Promenade [0:42] Tranquillo Total Playing Time [52:05] I Ballet of Chicks in Their Shells [1:14] Ballet des poussins dans leurs coques Scherzino. Vivo leggiero J Samuel Goldenberg and Schmuyle [2:31] Andante 2 NHK Symphony Orchestra, Tokyo Recorded: September 14 & 15, 2016, Suntory Hall, Tokyo (Live Recording at The Subscription Concerts No. -
Sächsische Staatskapelle Dresden
Sächsische Staatskapelle Dresden Sächsische Staatskapelle Dresden Matthias Claudi PR und Marketing T 0351 4911 380 Christian Thielemann, Chefdirigent F 0351 4911 328 [email protected] Myung-Whun Chung, Erster Gastdirigent Herbert Blomstedt, Ehrendirigent Durch Kurfürst Moritz von Sachsen 1548 gegründet, ist die Sächsische Staatskapelle Dresden eines der ältesten und traditionsreichsten Orchester der Welt. Seit ihrem Bestehen haben bedeutende Kapellmeister und international geschätzte Instrumentalisten die Geschichte der einstigen Hofkapelle geprägt. Zu ihren Leitern gehörten u. a. Heinrich Schütz, Johann Adolf Hasse, Carl Maria von Weber und Richard Wagner, der das Orchester als seine »Wunderharfe« bezeichnete. Bedeutende Chefdirigenten der letzten 100 Jahre waren Ernst von Schuch, Fritz Reiner, Fritz Busch, Karl Böhm, Joseph Keilberth, Rudolf Kempe, Otmar Suitner, Kurt Sanderling, Herbert Blomstedt und Giuseppe Sinopoli. Ab 2002 standen Bernard Haitink (bis 2004) und Fabio Luisi (2007-2010) an der Spitze des Orchesters. Seit der Saison 2012 / 2013 ist Christian Thielemann Chefdirigent der Sächsischen Staatskapelle. Im Mai 2016 wurde der ehemalige und langjährige Chefdirigent Herbert Blomstedt zum Ehrendirigenten des Orchesters ernannt. Diesen Titel hatte bislang einzig Sir Colin Davis von 1990 bis zu seinem Tod 2013 inne. Myung-Whun Chung trägt seit der Spielzeit 2012 / 2013 den Titel des Ersten Gastdirigenten. Richard Strauss war der Staatskapelle mehr als sechzig Jahre lang freundschaftlich verbunden. Neun seiner Opern, darunter »Salome«, »Elektra« und »Der Rosenkavalier« wurden in Dresden uraufgeführt; seine »Alpensinfonie« widmete er der Staatskapelle. Auch zahlreiche andere berühmte Komponisten schrieben Werke, die von der Staatskapelle uraufgeführt wurden bzw. ihr gewidmet sind. An diese Tradition knüpft das Orchester seit 2007 mit dem Titel »Capell-Compositeur« an. -
2019 / 20 Sinfonie Konzerte Wilhelmshaven
2019 / 20 SINFONIE 01 KONZERTE WILHELMSHAVEN DA STECKT MUSIK DRIN 2019 / 20 02 03 HERZLICH INHALT 03WILLKOMMEN UNSERE25 ANGEBOTE WILLKOMMEN KONZERTÜBERSICHT04 UNSER26 SERVICE Sehr verehrte Musikfreunde, Namen der anreisenden Solisten wie die Sopranistinnen Elizabeth Watts, Orchester, Dirigenten und Solisten von Julia Doyle und Adina Aaron, die Weltklasseformat zu Gast in der Tastenvirtuosen Piotr Anderszewski Stadthalle – das ist das Markenzeichen und Olga Scheps, der Violinist Dmitry der Sinfoniekonzerte Wilhelmshaven! Sinkovsky oder das berühmte Klavier- Auch in der Saison 2019/20 verspricht duo Katia und Marielle Labèque. die Reihe erlesene Darbietungen Lassen Sie sich von ihren spannend zu- KONZERTE06 1 – 8 IM DETAIL FÜR28 ABONNENTEN höchster Qualität, deren Spektrum vom sammengestellten Programmen verfüh- Barock über die Wiener Klassik und die ren, die Ihnen inspirierende und lange Romantik bis zu Kompositionen des nachhallende Konzerterlebnisse besche- 20. Jahrhunderts und zeitgenössischen ren mögen! Unser abschließender Dank Klängen reicht. Damit unterstreichen geht an die Sparkasse Wilhelmshaven, die Sinfoniekonzerte Wilhelmshaven die mit ihrem Engagement zu diesem einmal mehr ihren Rang als zentraler vielfältigen Programmangebot beiträgt. und kräftig strahlender Leuchtturm im 22SAALPLAN KONZERTGESELLSCHAFT30 kulturellen Angebot der Jadestadt. International renommierte Pult-Größen Michael Diers wie Andrew Manze, Sir Roger Norrington Geschäftsführer oder der aus Wilhelmshaven stammende Wilhelmshaven Touristik & Freizeit GmbH Thomas -
Heidi Grant Murphy, Soprano
Master Class Heidi Grant Murphy, soprano March 23, 2021 Tuesday Presented Virtually 3:30 pm Program Del Cabello más sutil Fernando Obradors (1897–1945) “Mein Herr Marquis” from Die Fledermaus Johann Strauss, Jr. (1825–1899) Gretchen Enterline, soprano Il pleure dans mon cœur Claude Debussy (1862–1918) “Steal Me, Sweet Thief” from The Old Maid and the Thief Gian Carlo Menotti (1911–2007) Becka Lundy, soprano Ideale Francesco Paolo Tosti (1846–1916) “Inkslinger's Song” from Paul Bunyan Benjamin Britten (1913–1976) Colin Kase, tenor “Chacun le sait” from La Fille du Régiment Gaetano Donizetti (1797–1848) Villanelle Eva Dell’acqua (1856–1930) Yaqi Yang, soprano "Or sai chi l'onore" from Don Giovanni Wolfgang Amadeus Mozart (1756–1791) "September" from Vier letzte Lieder Richard Strauss (1864–1949) Patricia Luecken, soprano One hundred eighty-fourth performance of the 2020-2021 season. About the Artist A shimmering soprano with enchanting stage presence, HEIDI GRANT MURPHY is one of the outstanding vocal talents of her generation. A native of Bellingham, Washington, she began vocal studies while attending Western Washington and the Indiana University Jacobs School of Music. Her graduate studies were interrupted when she was named a winner of the Metropolitan Opera National Council Auditions and engaged by Maestro James Levine to participate in the Metropolitan Opera's Lindemann Young Artist Development Program. Today, she has established a reputation not only for her radiant musicianship and impeccable vocal technique but also for her warm personality and generosity of spirit. Murphy has appeared with many of the world's finest opera companies and symphony orchestras, working with many of the world's most esteemed conductors. -
Human Requiem (U.S
Sunday, October 16, 2016, at 7:30 pm Tuesday–Wednesday, October 18–19, 2016, at 7:30 pm Post-performance discussion on Tuesday, October 18 with Simon Halsey, Jochen Sandig, and Patrick Castillo human requiem (U.S. premiere) Rundfunkchor Berlin Simon Halsey , Conductor Marlis Petersen , Soprano Konrad Jarnot , Baritone Angela Gassenhuber , Piano Philip Mayers , Piano Nicolas Fink , Co-Conductor Jochen Sandig , Concept and Scenic Realization Brad Hwang , Spatial Concept Jörg Bittner , Lighting BRAHMS Ein deutsches Requiem for soloists, chorus, and piano four hands (1868/2004) Arranged by Phillip Moll from the original transcription by Brahms Selig sind, die da Leid tragen Denn alles Fleisch, es ist wie Gras Herr, lehre doch mich Wie lieblich sind deine Wohnungen Ihr habt nun Traurigkeit Denn wir haben hie keine bleibende Statt Selig sind die Toten This performance is approximately 70 minutes long without intermission. Please join the artists for a White Light Lounge immediately following the performance. These performances are made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Please make certain all your electronic devices Synod House, are switched off. Cathedral of St. John the Divine WhiteLightFestival.org MetLife is the National Sponsor of Lincoln Center. UPCOMING WHITE LIGHT FESTIVAL EVENTS: Artist Catering provided by Zabar’s and Zabars.com Friday, October 21 at 7:30 pm in the Church of St. Mary the Virgin American Airlines is the Official Airline of Lincoln Immortal Bach Center Rundfunkchor Berlin -
Boston Symphony Orchestra Concert Programs, Summer, 1991, Tanglewood
/JQL-EWOOD . , . ., An Enduring Tradition ofExcellence In science as in the lively arts, fine performance is crafted with aptitude attitude and application Qualities that remain timeless . As a worldwide technology leader, GE Plastics remains committed to better the best in engineering polymers silicones, superabrasives and circuit board substrates It's a quality commitment our people share Everyone. Every day. Everywhere, GE Plastics .-: : ;: ; \V:. :\-/V.' .;p:i-f bhubuhh Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President T Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, V ice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A. Smith Julian Cohen Mrs. BelaT. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Mrs. Eugene B. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. -
LPO-379 Mahler Booklet AW2.Indd
GUSTAV MAHLER (1860–1911) Symphony No.2 ‘Resurrection’ CD1 25:02 MAHLER 01 25:02 I. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck. SYMPHONY NO.2 ‘RESURRECTION’ CD2 67:48 KLAUS TENNSTEDT conductor 01 12:10 II. Andante Moderato. Sehr gemächlich. Nie eilen. 02 11:24 III. Scherzo. In ruhig fl iessender Bewegung. YVONNE KENNY soprano 03 6:14 IV. ‘Urlicht’. Sehr feierlich, aber schlicht. JARD VAN NES mezzo soprano 04 21:18 V. Finale. Im Tempo des Scherzo. Wild herausfahrend. 05 7:51 ‘Aufersteh’n.’ Langsam Misterioso. LONDON PHILHARMONIC ORCHESTRA and CHOIR 06 8:51 ‘O Glaube, mein Herz.’ Etwas bewegter. KLAUS TENNSTEDT conductor YVONNE KENNY soprano JARD VAN NES mezzo soprano LONDON PHILHARMONIC ORCHESTRA and CHOIR David Nolan leader Malcolm Hicks off-stage conductor Richard Cooke chorus master Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL London LPO – 0044 LLPO-379PO-379 MMahlerahler Booklet_AW2.inddBooklet_AW2.indd SpreadSpread 1 ofof 8 - Pages(16,Pages(16, 1)1) 222/12/20092/12/2009 10:3010:30 MAHLER SYMPHONY NO.2 ‘RESURRECTION’ Highlights from Klaus Tennstedt and the London Philharmonic Orchestra Introduction: Tennstedt, Mahler and Morrison on-stage realisation of Mahler’s printed For more information or to purchase CDs telephone +44 (0)20 7820 4242 It took Mahler fi ve years to conceive, sculpt scores. For those who were present at his or visit www.lpo.org.uk and fi nally release the work that would make concerts there are vivid memories: the lolling, his career and arguably prove to be his most clumsy podium physique; the intense passion longstanding and resonant.